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Messe solennelle

Introduction

Of the twentieth-century French organist-composers, Jean Langlais can claim to be one of the most important (after Messiaen), and probably the most prolific. He was born in 1907 in Brittany. Blind from childhood, he studied first with André Marchal, and then at the Paris Conservatoire with Marcel Dupré and Paul Dukas. Subsequently Langlais, too, became an influential teacher. He was for many years organiste titulaire of the church of Sainte-Clotilde in Paris, where his predecessors included Franck and Tournemire. The Messe solennelle dates from 1951 and is unquestionably his finest piece of church music. The organ part is conceived for the two separate instruments often found in French churches and cathedrals: the smaller orgue de chœur, which generally doubles the vocal lines, and the larger grand orgue, which is on the whole independent of the choir and the smaller organ, and which makes its own dramatic contribution to the musical setting. However, it is perfectly possible to perform the work on just one organ (as here), using registration to create the impression of two instruments.

Langlais’ distinctive harmonic language is rooted in modality, often underlined by the use of bare fifths and organum-like parallel movement, but also enriched by astringent, more dissonant chords and modes. His choral writing is effective; he sometimes writes in severe fugal style (as in the opening sections of the Gloria and Agnus Dei), and at other times in massive homophonic blocks of sound (the Sanctus), or in delicately sinuous and supple lines (such as the Benedictus and parts of the Kyrie). The organ adds colour and dramatic impact, and generally sets the mood and tone for each movement except the Gloria, in which Langlais achieves a spine-tingling coup de théâtre by reserving the first entry of the full organ until the end of the apparently academic, opening fugal section. The Sanctus begins excitingly with a driving organ introduction that builds up to the first thrilling cry of ‘Sanctus’. The Benedictus shows Langlais at his atmospheric best. The undulating organ part provides a shimmering, mystical backdrop for the otherwordly lines sung in parallel octaves by soprano and alto. In the liturgical context for which this music was conceived, this is an intensely effective and moving moment. The final Agnus Dei is dark and severe in mood until it reaches the final ‘dona nobis pacem’, which begins softly and then builds rapidly into an impassioned, blazing cry for peace as the grand organ brings the Mass to its radiant conclusion.

Recordings

Eton College Chapel Choir perform an enchanting selection of twentieth Century French Choral and Organ music. As well as music by composers who were at the heart of French musical life in Paris, such as Olivier Messiaen and Francis Poulenc, this d ...» More

This recording from The Choir of Westminster Cathedral also features two of its admired former organists and the English Chamber Orchestra Brass Ensemble, all illuminating joyful paeans of praise by the profoundly religious organist and composer J ...» More

'The disc is a splendid and colourful addition to the Abbey Choir's recordings of special services. They themselves are in fine form, sovereign (as be ...'The choir, atmospherically recorded in the Abbey itself, sings this demanding repertoire with its customary zeal and a well-blended sound, and the pe ...» More

The Messe solennelle, for mixed chorus and organ, was also inspired by the Catholic liturgy and tailored to the needs of the Mass. It was written in 1951, and although it is not based on plainsong the modality of the writing sometimes suggests it. Again Langlais employs parallel fifths and octaves, made more incisive by the addition of notes which create often harsh discords. The Kyrie, whose two main themes are foreshadowed in the organ introduction, is mostly homophonic, though the imitative entries which launch the chorus lines give it a contrapuntal feel. True counterpoint is reserved for the start of the Gloria, which begins as a fugue, albeit one which the organ from time to time interrupts. The Sanctus is marked by a sinuous figure in the organ accompaniment which twists and turns chromatically until its rhythm is taken up by the chorus in an energetic ‘Hosanna’, repeated at the end of the restrained Benedictus. The final section of the Mass, the Agnus Dei, is intensely chromatic, its melodic material showing a strange angularity, and its closing plea for peace (‘dona nobis pacem’) becoming increasingly urgent.

Glory to God in the highest.
And on earth peace to men of good will.
We praise thee. We bless thee.
We adore thee. We glorify thee.
We give thee thanks for thy great glory.
O Lord God, heavenly King, God the Father almighty.
O Lord, the only-begotten Son, Jesus Christ.
O Lord God, Lamb of God, Son of the Father.
Who takest away the sins of the world, have mercy on us.
Who takest away the sins of the world,
receive our prayer.
Who sittest at the right hand of the Father, have mercy on us.
For thou only art Holy. Thou only art Lord.
Thou only art most high, Jesus Christ.
With the Holy Ghost, in the glory of God the Father. Amen.

Glory to God in the highest.
And on earth peace to men of good will.
We praise thee. We bless thee.
We adore thee. We glorify thee.
We give thee thanks for thy great glory.
O Lord God, heavenly King, God the Father almighty.
O Lord, the only-begotten Son, Jesus Christ.
O Lord God, Lamb of God, Son of the Father.
Who takest away the sins of the world, have mercy on us.
Who takest away the sins of the world,
receive our prayer.
Who sittest at the right hand of the Father, have mercy on us.
For thou only art Holy. Thou only art Lord.
Thou only art most high, Jesus Christ.
With the Holy Ghost, in the glory of God the Father. Amen.

Glory be to God on high,
and on earth peace
and goodwill towards men.
We praise Thee, we bless Thee,
we worship Thee, we glorify Thee.
We give thanks to Thee
For Thy great glory.
O Lord God, heavenly King,
God the Father Almighty,
the only begotten Son, Jesus Christ,
Lord God, Lamb of God, Son of the Father.
Thou that takest away the sins of the world,
have mercy upon us.
Thou that takest away the sins of the world,
receive our prayer.
thou that sittest at the right hand of God the Father
Have mercy upon us.
For Thou only art holy,
Thou only art the Lord,
Thou only art most high.
Jesu Christ.
With the Holy Ghost
in the glory of God the Father,
Amen.

Lamb of God, who takest away the sins of the world,
have mercy on us.
Lamb of God, who takest away the sins of the world,
have mercy on us.
Lamb of God, who takest away the sins of the world,
grant us peace.

Lamb of God, who takest away the sins of the world,
have mercy on us.
Lamb of God, who takest away the sins of the world,
have mercy on us.
Lamb of God, who takest away the sins of the world,
grant us peace.